Most children who were born in the 1990s and the early 2000s can name only one film on mermaids: Disney’s The Little Mermaid. Its message might have been, shall we say, dubious in some aspects. But it’s also the film that, in 1989, saved Disney animation from oblivion and encouraged hordes of us to play mermaids in the swimming pool. (Who needs a voice to entice a love interest when you’ve got games?) Despite its impact, the Disney-fied adaptation of Hans Christian Andersen’s (far darker) fable differs greatly from earlier representations of mermaids. The majority of seagoing nations in the world have some sort of merpeople in their folklore, and they aren’t exactly Ariel-loving Dinglehoppers. The majority of mermaids in myth are lethal, cunning creatures, from Atargatis, the (unintentionally) wicked Assyrian goddess-turned-mermaid, to the sirens of Ancient Greece who seduced sailors to watery graves. Additionally, many mermaid films make use of that.
The Lure, a Polish movie directed by AgnieszkaSmoczyska, was released in 2015, however, if you live in the US, it is still seen as having been released in 2017. The best way to explain this unusual movie is to picture The Little Mermaid with man-eating mermaids that also loved gothic music. The Lure is a love fairy tale in addition to a horror musical. The story revolves around two mermaids, one of whom represents the romantic and inquisitive perspective of the Little Mermaid, and the other of whom represents the terrifying and animalistic aspect of the movie. As the plot develops, the movie gradually becomes darker overall, and the gothic theme takes over entirely. Having said that, there are several flaws: some of the scenes just obscure what is happening, and other scenes appear to exist solely to support a musical performance.
THE MERMAID: LAKE OF THE DEAD(2018)
The narrative is based on Slavic folklore; in Russia, it was thought that unmarried girls who drowned became mermaids, who were the nefarious demons of the lakes and rivers. The movie’s protagonist Marina is getting ready for her wedding but is unaware that her partner Roman encountered an odd young girl on the bank of a woodland lake. The young woman is a wicked Mermaid who falls in love with Roman and wants to keep him away from Marina in her underwater Kingdom of Death. Every day since this meeting, things have become worse. It turns out that this is exactly how the mystical mermaids’ charms function. A young woman who perished a few centuries ago is the real-life Mermaid. To stay human in the last battle against the monsters and avoid turning into one herself, Marina has just one week to get over her dread of the black ocean.
They are both horrible choices for leads—one is utterly unlikeable, while the other is forgettable. After what seems like an eternity passes with nothing happening, they run into a native islander who convinces them to visit the tiny island of Mamula the next day. The island is a remote area with a deserted military fort that the girls can visit while they are there. An intoxicated fisherman gives the group the typical caution about traveling to the island while they are drinking in the tavern the previous night, but they of course disregard this advice. The mermaid’s transformation into her true form, which can be seen in the film, does look pretty darn beautiful. That is the only positive aspect. With an amazing move and some sequel tease, it concludes. Even though the idea is rather exciting, a sequel will never be produced.